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Fish, Stanley. Durham: Duke University Press, — Frye, Northrop. Anatomy of Criticism: Four Essays. Gans, Herbert. New York: Basic Books. Garber, Frederick, ed. Romantic Irony. Philadelphia: John Benjamins. Gibbs, John. Colston, eds. New York: Lawrence Erlbaum Associates. Grice, H. New York: Academic Press, — Hatten, Robert. Holland, Glenn S. Divine Irony. London: Associated University Press.

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Hymes, Dell. Amsterdam: Bejamins, — Hutcheon, Linda. Kaufer, David. London: Collins. King, Geoff. Kotthoff, Helga. Kozloff, Sarah. Kroeber, Karl. Make Believe in Film and Fiction: Visual vs. Verbal Storytelling.

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London: Palgrave Macmillan. Leigh, Jacob. London: Continuum. Littman, David C. Lucariello, Joan. MacDowell, James. New York: Routledge, 53— London: Palgrave Macmillan, — Edinburgh: Edinburgh University Press, 35— McCulloch, Richard. Melbye, David. Mellor, Anne.


  1. Approximation in complex and real Lipschitz algebras.
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  5. Irony on Occasion: From Schlegel and Kierkegaard to Derrida and de Man.

English Romantic Irony. Muecke, Douglas Colin. The Compass of Irony. London: Methuen. Newmark, Kevin. New York: Fordham University Press. Ong, Walter J.

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Perez, Gilberto. Albany: State University of New York, 13— Perkins, Claire. American Smart Cinema. Edinburgh: Edinburgh University Press. Perkins, V.

Film as Film: Understanding and Judging Movies. London: Penguin Books. Plantinga, Carl. Pye, Douglas. London: Wallflower Press, 1— Richards, I. Principles of Literary Criticism. New York: Harcourt Brace and World. Robertson, Pamela. Roche, David. Rorty, Richard. Contingency, Irony, and Solidarity. Cambridge: Cambridge University Press. Rothman, Stephen. Schlegel, Friedrich. Sconce, Jeffrey. CrossRef Google Scholar. Smith, Murray. Engaging Characters. Smith, Susan. Hitchcock: Suspense, Humour and Tone.

London: BFI. New York: Lawrence Erlbaum Associates, 35— Storm, William.


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Irony and the Modern Theatre. Stringfellow, Frank.

Introduction | SpringerLink

Taylor, Greg. Thomas, Deborah J.

Toles, George. Vlastos, Gregory. Socrates: Ironist and Moral Philosopher. Now, in quantity 2, he examines those relatives in fiction and theories of literature. Ricoeur treats the query of simply how a long way the Aristotelian idea of "plot" in narrative fiction will be accelerated and even if there's a aspect at which narrative fiction as a literary shape not just blurs on the edges yet ceases to exist in any respect. He appears at how time is really expressed in narrative fiction, fairly via use of tenses, perspective, and voice.

He applies this method of 3 books which are, in a feeling, stories approximately time: Virgina Woolf's Mrs. To scholars of rhetoric, the significance of Time and Narrative. Note: I'd say this is often simply the most very important books I've learn within the final decade.

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